Anderson: It’s pretty tight. We have a nice tight circle of trust. I mean, [editor] Leslie Jones for sure is probably the queen of the cast, her and [producer] JoAnne [Sellars]. But every day Leslie and I just go back and forth about what to do and where things might go. Ultimately the relationship I have with Leslie is pretty, pretty tight and it’s between us. She’s great to work with. [Editor] Dylan [Tichenor] was off doing something else, but he was a part of it, too, checking in and being again a part of what the decisions were. And then, yeah, friends and family.

He also gave some opinions at the writing phase like PSH. That sort of thing is always cool, like Sandler being around during the editing of TWBB, offering advice on cuts.

Now that things are trickling out, this is what I heard the central plot was (though who knows): DDL plays a pretty misogynist fashion designer who meets a young modell, falls in love, and she hooks him onto drugs and they develop some sort of master-slave relationship, with him as the submissive.

The fact he's DoP on this one is still pretty crazy but I think the mention of Michael Bauman as lighting cameraman is probably important in this regard. He'll be important in balancing out the workload.

Kubrick did the same with EWS, so maybe he's finally taking the SK road, small crew and a lot of DIY.

I had decided to head home, whilst thinking I had missed the filming and they had all left. However I nipped in a local shop for a coffee before leaving and they told me the filming was behind schedule so I hung about a while longer.

As actors and film crew started to turn up, what was noticeable today was the complete contrast in attitude from the film crew from how we had found them to be earlier in the week. Gone was that air of secrecy we had witnessed in Lythe last week.

The film crew were pleasant and smiley, quite happy to chat and even pose for photographs. They said the filming would be in the afternoon and even said I would be allowed on the platform for some photographs.

Whilst photographing the set and actors, The producer himself turned up and was more than happy to have his photograph taken alongside the Locomotive they would be filming on.

Mr Thomas Anderson seemed quite shocked that I actually didn’t know who he was, however he found it quite amusing that the security and film crew had told me his understudy Roger Bartholemew-Ramjet was the actual producer, and that I had been snapping Mr Ramjet all week thinking i had some awesome shots of Oscar winner Mr Thomas.

Many of the film crew were shocked I had managed to locate them in the middle of the National Park. Some crew were laughing and said even they didn’t know the secret location until 2 hours prior. I explained that we are a tight nit Yorkshire Community and not much goes unnoticed in The Esk Valley.

Mr Thomas Anderson said he had really Enjoyed his stay in Yorkshire, and had massively enjoyed Fish And Chips in Whitby, he added that “Yorkshire was indeed The Finest County in the whole of England”.

The Film crew informed me that today was their final day in the area and they would be heading off to Gloucestershire this evening. However, as always Im sceptical about that given the amount of tales they have spun me this passed week. It wouldn’t surprise me in the slightest to see them back in the area again tomorrow morning.

Yeah, I think it's a contractual thing. Movie is greenlit but you gotta get it out in 2017 so he must've thought he could do it.

Maybe with that confidence and the return of Dylan Tichenor we're in for a tighter film with less mountains of footage to shape in the edit. Interestingly or coincidentally the Leslie Jones edited films are his most out there (and had the hardest time finding an audience). PDL. Master. Vice.

Logged

Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.